Programme

The course addresses the relationship between music and image focusing on some aspects of musical iconography and especially of the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. Assuming the relationship between opera and image as main theme of the course, in the first part attention will be paid of the role that image could have in the context of opera on the levels of scenography and of contemporary stage direction. Then, an investigation path will be outlined on the relationship between opera and cinema in the 20th and 21st centuries.

Core Documentation

1. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

2. Gerardo Guccini, La regia lirica, livello contemporaneo della regia teatrale, «Il castello di Elsinore», 62, (2010), pp. 83-104

3. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

4. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-699 e 833-911

5. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

6. Gaia Varon, L’eroismo e la sconfitta. La musica di Verdi in “Noi credevamo” di Mario Martone, in Impariamo ad ascoltare la musica classica. Percorsi interdisciplinari nella storia della musica d’arte, a cura di Chiara Sintoni, Roma, Aracne, 2013, pp. 143-162

Reference Bibliography

See "Testi adottati".

Type of delivery of the course

The course consists of 10 historically and critically oriented lectures, integrated by listening to and analyzing musical compositions and by viewing and analyzing opera performances in video and film sequences. The lists of musical examples and audiovisual materials will be made available in Moodle. Knowledge of the musical compositions and audiovisual materials examined during the course is to be considered an integral part of preparing for the exam.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.

Programme

The course addresses the relationship between music and image focusing on some aspects of musical iconography and especially of the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. Assuming the relationship between opera and image as main theme of the course, in the first part attention will be paid of the role that image could have in the context of opera on the levels of scenography and of contemporary stage direction. Then, an investigation path will be outlined on the relationship between opera and cinema in the 20th and 21st centuries.

Core Documentation

1. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

2. Gerardo Guccini, La regia lirica, livello contemporaneo della regia teatrale, «Il castello di Elsinore», 62, (2010), pp. 83-104

3. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

4. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-699 e 833-911

5. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

6. Gaia Varon, L’eroismo e la sconfitta. La musica di Verdi in “Noi credevamo” di Mario Martone, in Impariamo ad ascoltare la musica classica. Percorsi interdisciplinari nella storia della musica d’arte, a cura di Chiara Sintoni, Roma, Aracne, 2013, pp. 143-162

Reference Bibliography

See "Testi adottati".

Type of delivery of the course

The course consists of 10 historically and critically oriented lectures, integrated by listening to and analyzing musical compositions and by viewing and analyzing opera performances in video and film sequences. The lists of musical examples and audiovisual materials will be made available in Moodle. Knowledge of the musical compositions and audiovisual materials examined during the course is to be considered an integral part of preparing for the exam.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.

Programme

The course addresses the relationship between music and image focusing on some aspects of musical iconography and especially of the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. Assuming the relationship between opera and image as main theme of the course, in the first part attention will be paid of the role that image could have in the context of opera on the levels of scenography and of contemporary stage direction. Then, an investigation path will be outlined on the relationship between opera and cinema in the 20th and 21st centuries.

Core Documentation

1. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

2. Gerardo Guccini, La regia lirica, livello contemporaneo della regia teatrale, «Il castello di Elsinore», 62, (2010), pp. 83-104

3. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

4. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-699 e 833-911

5. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

6. Gaia Varon, L’eroismo e la sconfitta. La musica di Verdi in “Noi credevamo” di Mario Martone, in Impariamo ad ascoltare la musica classica. Percorsi interdisciplinari nella storia della musica d’arte, a cura di Chiara Sintoni, Roma, Aracne, 2013, pp. 143-162

Reference Bibliography

See "Testi adottati".

Type of delivery of the course

The course consists of 10 historically and critically oriented lectures, integrated by listening to and analyzing musical compositions and by viewing and analyzing opera performances in video and film sequences. The lists of musical examples and audiovisual materials will be made available in Moodle. Knowledge of the musical compositions and audiovisual materials examined during the course is to be considered an integral part of preparing for the exam.

Type of evaluation

Oral exam with questions on the topics discussed within the lectures, also aimed at verifying the knowledge of the musical compositions and opera in video and film sequences analyzed during the course, and on the bibliographical references.